Mighty Joe Young hghjyj

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MIGHTY JOE YOUNG

Screenplay by

MARK ROSENTHAL & LAWRENCE KONNER

Based on a screenplay byRUTH ROSE

Story byMERIAN C. COOPER

August 1997Final Production Draft

FOR EDUCATIONAL

PURPOSES ONLY


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MIGHTY JOE YOUNG

1 EXT. MOUNTAIN RANGE - DAY 1

The lush Pangani Mountains of Africa, mysterious andseemingly untouched.

2 EXT. PANGANI FOREST - DAY 2

A warm golden light bathes the jungle. Shafts ofsunlight filter through the forest floor. The sounds ofWILD BIRDS break the hushed quiet of the setting. As weMOVE IN we FIND a large female mountain gorilla lounging,eating leaves in the dense undergrowth, her precociousbaby gorilla plays nearby.

THROUGH CAMERA LENS

A view of the mother gorilla, a few PICTURES SNAPPED.

BACK TO SCENE

The photographer is RUTH YOUNG, naturalist, researcher,sitting in the undergrowth with her camera, notebooks,and sketch pad. Her precocious young daughter, JILL,plays nearby.

Jill smiles, watching the baby gorilla clown. As the babysees her, he suddenly scampers to a nearby tree and hideshis face behind it. Jill does the same. She peeks out to

catch a glimpse, just as the baby peeks out to catch hereye. They both scamper to different trees. Each timethey move to a different tree, they go through thispeek-a-boo interaction, both moving further away from their mothers. The mother GORILLA notices, lets out aCRY. Ruth looks around for Jill and signals by adistinctive whistle for her to come back this instant.

Both children take a last look at each other and thenscurry to their waiting mothers.

RUTHJill. What did I tell you?

JILLBut Joe started it!

RUTHIt's not good for them to interact

with us.(gathering her things)

Besides, that wasn't Joe. It wasMarley.

(CONTINUED)


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2.

2 CONTINUED: 2

Jill helps her mother heft the equipment as they start tohead back to camp.

JILLNo it wasn't. It was Joe.

RUTHJoe is just a baby, Jill. He wastoo big to be Joe.

As they walk, they can see the sunset over the mountaintrail.

JILLCheck. Check the pictures.

Ruth looks down at her daughter, surprised by theconfidence in her voice.

3 EXT. EQUATORIAL SKY - NIGHT 3

The Southern Cross above the horizon. The Milky Way adusty streak of white. A shooting star streaks in an arcdown to the --

MOUNTAIN RANGE

The dark peaks silhouetted against the stellar glow.

POV SHOT

Charging THROUGH dense, primeval forest. We hear aneerie metallic JANGLE of what sounds like wind chimesriding right with us. Something is moving quickly upthis mountain.

4 EXT. PANGANI JUNGLE - NIGHT 4

Bursting THROUGH FRAME -- a pack of mongrel hunting dogsdriven hard by a half dozen African men with rifles.

Poachers wielding pangas (machetes). A glint of silveras a panga sweeps ACROSS FRAME, hacking at the wall ofthistles and nettles.

ON DOGS

Eyes yellow. Teeth flared. The RINGING sound made byTIN SQUARES cut from cans, tied by rawhide around theirnecks. CLANG-CLANG-CLANG. One poacher whips his pangaagain.

(CONTINUED)


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3.

4 CONTINUED: 4

PUNCH IN to reveal -- impaled in the earth, a three-footstick figure with a macabre animal skull for a head. Thepoacher shouts in local dialect until -- A foul-looking

man, GARTH, pushes INTO FRAME. Carrying a heavy WeatherbyMark V rifle across his back. Garth yanks the primitivedoll from the ground. Looks back as -- A figureapproaches in the darkness.

A glowing cigar clenched in his stained teeth, STRASSERchecks the doll over -- primitive, grotesque; then snapsit in two. Tossing it away contemptuously, he shoutsorders in the local dialect.

The men continue up the path. Dogs sweeping behind likea wildfire. CLANG-CLANG-CLANG. PAN UP OVER TO --

5 EXT. FOREST - NIGHT 5

The RING of the DOG COLLARS floats on a night breezeacross a deep valley to the other side of the mountain,down to a...

CLEARING

A small circle of huts forming a campsite around a nightfire. We go inside...

one of them --

6 INT. HUT - NIGHT 6

Ruth Young's hut. On one side is a makeshift fieldlaboratory, highlighted by a wall collage of photos --family shots mixed right in with gorilla shots.

RUTH

sits on the edge of a cot, tucking Jill into bed. Sheleans down, kisses Jill gently on her forehead.

RUTHJill, what made you think thegorilla we saw today was Joe?

JILLI was right, wasn't I?

(CONTINUED)


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4.

6 CONTINUED: 6

RUTHMy notes say that Joe is only six

months old. Either I gotconfused, or he's a very unusualgorilla.

JILL(sing-song)

I told you so.

RUTHYes, you did. And Mommy's goingto write it down in her book.

She holds up a dog-eared composition book, Ruth's detailedlog of her observations.

RUTHRight here. '... and my trustedcolleague, Dr. Jill Young, showed

me the error of my ways.'

Jill smiles.

RUTHNow go to sleep.

Ruth begins singing a lullaby.

RUTH(singing)

'Sleep till the night ends, thenight wind will sing for you.Your song and my song. It goes onforever.'

As she sings, a man appears in the doorway. This isKWELI, the camp manager. He seems nervous and impatient,but doesn't want to disturb Ruth. Jill sees him.

JILLGoodnight, Kweli.

Ruth turns.

RUTHKweli? What is it?

KWELIYou should come. Quickly.

As soon as she hears the words, Ruth is up. As she leavesthe hut, she grabs her walking stick.

(CONTINUED)


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5.

6 CONTINUED: (2) 6

JILLMommy, can I...

RUTHStay here, Jill.

Ruth exits, Kweli behind her. Jill follows, despite her mother's orders... but Kweli feels her behind him. He

turns around and crouches down, looking Jill seriously inthe face:

KWELI(fatherly)

Stay here, child.

CUT TO:

7 EXT. HUT 7

A group of Bahatu trackers have gathered in the center ofthe camp. They stand, silently, listening...

The distant CHIMING of the poaching dogs is unmistakable --ECHOING in the night.

Ruth walks into the circle, also listening. She turns toKweli.

RUTH(grimly)

Poachers.Kweli nods. All the men look at Ruth for a sign.

RUTH(in Swahili, subtitled)

Let's go.

Ruth leads them onto the forest path that goes up the mountain.

NEAR HUT

Jill has not stayed in bed. She has come out of the hutto watch the commotion.

JILL'S POV

Her mother, silhouetted by moonlight, in her mind larger-than-life, pushes up the trail. Then she's gone.

CUT TO:


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6.

8 EXT. PANGANI FOREST - NIGHT 8

Strasser leads a breakneck pace through the woods. Garthlooks around as the AFRICANS begin to murmur something overand over. These men seem scared...

AFRICANS... n'gai zamu!... n'gai zamu!...

Garth steps closer to keep up with Strasser.

GARTHThey're at it again.

STRASSERMystical nonsense. There's onlyone thing they should be afraid ofon this mountain.

(threatening, to the men)

And it's staring them right in theface!

The men stare back at Strasser with equal hostility.

Suddenly, Garth kneels and picks something from theground. Rubs it between his fingers. Deposits it inStrasser's hand.

GARTHGorilla. We're close.

9 EXT. BASE CAMP - NIGHT 9Jill is pacing by the hut, trying to stay put like her

mother said. Finally she can stand it no more. Shegrabs a long, stainless steel flashlight from a peghanging on the outside of the hut and runs off...

10 EXT. FOREST - WIDEN ANGLE - NIGHT 10

The African men fan out. It gets quiet fast. Strasserand Garth swing rifles down from their shoulders as theystalk. Proficient hunting machines.

EXTREME CLOSEUP - STRASSER

His predator's eyes scanning the moonlit green tapestry.One more step -- then a dry POK-POK-POK sound erupts from the bushes. The DOGS BARK madly -- CLAPPERS RINGING.

(CONTINUED)


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7.

10 CONTINUED: 10

Trees shake furiously.

Strasser spins to see several gorillas, darting from thetrees, a blur of black shapes trying to escape up the

mountain.

CLOSE ON ONE FEMALE

The same one Ruth watched earlier. Joe clings tightlyto her back, his eyes wide with fear.

JOE'S POV

A nightmarish collage of images accompanied by theCLANGING of the dogs' COLLARS, the charge of the Africanpoachers, the SCREAMS of the MOTHER and the otherGORILLAS. Then he sees Strasser run forward, raise hisrifle with icy precision.

THROUGH SCOPE

Strasser has Joe's mother dead on. Her head in thecross-hairs as she tries to get away. The MOTHER'S raspyanimal SCREAM is unmistakably maternal, heart-breaking.It ECHOES across the mountain as she tries to reach adeep stretch of woods.

On her back, Joe turns once more to look back and sees --

EXTREME CLOSEUP - STRASSER'S TRIGGER FINGER

squeezing gently, the EXPLOSION of the SHOT RATTLES theforest.

The MOTHER'S SCREAM is CUT OFF sharply.

ON JOE

We see Joe thrown THROUGH FRAME, tumbling into the highgrass.

Then, silence.

STRASSER AND GARTH

crash through the dense foliage to retrieve the body.The DOGS SNAPPING behind. CLANG-CLANG-CLANG.

(CONTINUED)


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8.

10 CONTINUED: (2) 10

GARTH(shouting)

Get the baby!

STRASSER(shouting)

Don't shoot it! They want thebabies alive!! Bring the sack!

CLOSE ON JOE

He SCREAMS wildly, darts back and forth, desperatelylooking for his mother.

JOE'S POV

THROUGH the tall grass in the b.g., he can see the Africans disappear up the hill hunting down the others.

BACK TO SCENE

And then we see Joe's anguish turn to fury. He GROWLS --and as the two big hunters come nearer -- Joe springs outat them.

Joe is moving so fast, Strasser barely has time to reactbefore the furry black shape is on top of him -- WIDENas Joe attacks Strasser, knocking him back. Strasser

shouts and drops his rifle. Tries to pull Joe off asthey tumble down through the trees. Strasser punchesand pulls at this ball of sinew and muscle. He reachesfor his Match Master side arm with his right hand. PUNCHIN CLOSE as Joe bites down viciously through the hand.Strasser howls...

ANGLE ON GARTH

He has retrieved his rifle and is charging hard for hisdowned companion. He looks for a clear shot at Joe. PANRIGHT and RACK FOCUS as Ruth Young explodes from thetrees and flashes past Strasser, snatching Joe away. Joeis not quite sure what has happened, but he hangs on toRuth for dear life.

Strasser staggers forward, holding his mangled hand.Enraged.

He rips Garth's gun away from him and with his bloodiedhand, finds a way to pull the trigger. SHOTS RIP throughBARK but Ruth disappears into the trees like a spirit.


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9.

11 EXT. FOREST - ON JILL - NIGHT 11

Running but nearing exhaustion. Hearing a fusillade ofGUNSHOTS -- Jill runs faster, panic contorting her face.

She runs desperately, swiping at branches, stingingvines.

ANOTHER POV

Something is running TOWARDS her.

12 EXT. FOREST - NIGHT 12

Jill shines her flashlight into the forest. Further up,someone waves a light back and forth. Like a signal.

Jill's face lights up. She continues running. Suddenly,Jill is bowled over by Joe who leaps into her arms. Theyroll on the ground, Jill with the wind knocked out of her.They look into each other's face and both know that the

worst is happening. They are both silent with fear.

Strasser appears through the darkness. His right hand wrapped in a bloody swath. Denying the pain. Garth

follows, gun up.

Jill and Joe lie hiding in the undergrowth. Jill's eyestell Joe not to make a sound. They barely breathe.

JILL'S POVof Strasser's and Garth's boots. Jill can hear the soundof their voices, but their words are indistinct.

BACK TO SCENE

STRASSER(quietly)

She's got to be here somewhere.She's got that damn devil with her.

GARTH(matter-of-fact)

I think you might've hit the woman.

STRASSER(shrugs)

These people want to live likeheroes, let them die like heroes.

(CONTINUED)


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10.

12 CONTINUED: 12

They are nearly on top of Jill and Joe, and their wordsare now crystal clear. Strasser looks at his bloody,

wrapped hand and stares vindictively into the dark forestaround him.

STRASSERThat little demon took off my damntrigger finger.

(in Roumanian)Monstrule!

GARTHYour little 'monster' couldn'thave gone far. Want to keeplooking or...?

STRASSER(in pain)

No. Let's get out of here.

Jill and Joe lie still as stone as Strasser and Garthcontinue past. Once they're gone, Joe and Jill begin tobreathe again. Then, Jill sees a light pop on in thedarkness. She flashes back.

JILLMom!

RUTH (O.S.)(whispering)

Shhh!

Ruth suddenly emerges from the darkness. She collapsesnext to Jill in the undergrowth.

JILL(whispering)

Mom, there were men, they...

RUTHI know, I know. Shhh.

EXTREME CLOSEUP - RUTH'S HAND

We see blood trickle down her fingers. Ruth covers itquickly so Jill can't see.

BACK TO SCENE

JOE, clinging to Jill, begins to WHIMPER.

RUTHOh, look who it is. Hello, Joe.

(CONTINUED)


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11.


JILLHe's scared.

RUTHPoor baby. He lost his mommytonight.

Ruth turns her attention from Joe to her daughter.

RUTHHe needs someone to protect him.Will you do that for me, Jill?

Jill is taken aback by her mother's behavior. She knowssomething is wrong, but she doesn't know what it is.

RUTHPromise me you'll protect him,Jill.

JILLI... I promise.

Ruth takes Jill into her arms. She rocks her back andforth, humming the lullaby we heard before.

HOLD ON --

-- the three of them, huddled together in the dense jungle,the lilting sound of Ruth's lullaby drifting through thenight air.

CAMERA FLOATS UP THROUGH the trees until it REVEALS andHOLDS ON the star-lit Pangani sky. RUTH'S VOICE EXPANDSINTO a CHORUS of POWERFUL AFRICAN VOICES SINGING theSAME LULLABY, now transformed into an inspirational hymn.

DISSOLVE TO:

13 EXT. GRAVE SITE - DAY 13

MUSIC CUE: RUTH'S VOICE BECOMES a CHORUS of powerful AFRICAN VOICES SINGING the SAME LULLABY in the local

dialect. But now it's become a powerful hymn -- sacredand inspirational.

From the sky, flower petals of every color begin to fall. As they fall, they land on...

A wooden plank that simply reads: "RUTH YOUNG."

(CONTINUED)


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11A.

13 CONTINUED: 13

PAN ACROSS TO an adjacent marker that reads: "DR. EDWARDYOUNG" -- Jill's parents now reunited on that great

mountain.

WIDEN TO camp cemetery.

Kweli lays Ruth's walking stick across her grave. Stepsback -- not even trying to wipe away his tears. Jillstands bravely, singing through her broken heart.Kweli takes her hand in his.

POV - FROM WOODS

Someone is watching all of this. Staring directly atJill.

BACK TO SCENE

Kweli looks down at Jill.

KWELIDon't worry, little one. I willtake care of you.

Jill nods, trying to stifle her tears. But she is nowstaring into the woods, sensing that she is being

watched.

KWELI

You will love living in thevillage. There are otherchildren, and...

Jill pulls her hand away from Kweli's and starts walkingtoward the woods.

KWELIJill!

But she ignores him, breaking into a run, drawninexorably toward the jungle.

ON KWELI

Starting after her at first, but then stopping. He letsher go.

CUT TO:


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11B.

A14 EXT. PANGANI FOREST - DAY A14

Jill pushes her way through the brush, finding Joe, waiting for her.

ON JILL

Joe in her arms now, running through the woods as fastas she can, and we PULL BACK and...

DISSOLVE TO:

14 EXT. AFRICAN LANDSCAPE - AERIAL SHOT - DAY 14

Rolling foothills. Farms. Giving way to steeper slopes.The mountains rising just beyond.

15 OMITTED 15


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12.

16 EXT. AFRICAN LANDSCAPE - DAY 16

SUPERIMPOSE: 12 YEARS LATER.

A quickly-moving dust cloud turns out to be --

HUMVEE

racing at breakneck speed over the dirt highway. Drivenby GREGG O'HARA -- anyone would consider him young,strong and handsome -- except that right now, it's allhidden under the grime from a long flight and a week'sgrowth of beard. Hair long, unkempt; clothes wrinkled.

Gregg passes four local men burning a clearing in the woods for yet more farmland.

Pushing its way up the mountain side. The humvee ispacked with EQUIPMENT that RATTLES as Gregg hits everybump in the road.

17 EXT. VILLAGE - DAY 17

A tiny African village, just a main square with a bar, aschool, an infirmary and a gas station.

Standing smack in the middle of the road is an East Indian with a goatee, wrap-around Black Flys, and a Nike workout

suit.

Gregg's HUMVEE SKIDS to a sharp stop in front of him.

GREGGYou must be Pindi.

Pindi flashes him a broad smile.

PINDIThe one and only, bro.

CUT TO:

17A EXT. VILLAGE - DAY 17A

Pindi is leading Gregg down a row of vehicles: two LandRovers, one with a strange-looking seat attached to thefront hood, and an old, flatbed lorry. A surly-lookinggroup of men lounge around on them.

(CONTINUED)


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13.

17A CONTINUED: 17A

PINDISix men, three cars... everythingyou ask for, Mr. Ohara.

(lowering his voice)

All paid for in advance, out ofPindi's pocket...

Gregg holds an envelope filled with cash in Pindi's face.He nods towards the nasty-looking men.

GREGGSweet-looking bunch of guys.

Pindi snatches the envelope -- but Gregg holds onto hisend.

GREGGI asked for experienced trackers.

PINDIThese men are the best -- I assureyou. Very best.

Gregg allows Pindi to pull the envelope away. Heimmediately rifles through the cash, checking to make sureit's all there.

Gregg eyes Pindi's men suspiciously, then walks around tothe back of his humvee and flips open the storage boot,revealing an array of animal-tracking gadgetry. Pindi

looks over his shoulder as Gregg loads a menacing-lookingrifle.

PINDINice piece you got there. Whatare we hunting, elephants?

GREGGWe're not hunting anything.

Pindi sees that Gregg is loading the rifle with tran-quilizer darts. This confuses him, but he pretends toapprove.

PINDI Ah! Tranquilizer darts. I agree

-- much nicer to animals thanbullets.

GREGG(indicating tranquilizer gun)

Your men know how to use this, right?

(CONTINUED)


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14.

17A CONTINUED: (2) 17A

PINDIOh sure, boss. Only professionalshere.

Gregg carefully puts the rifle back, then grabs a pair ofMinolta 10x20 binoculars.

PINDISo tell me, boss -- where are wegoing today?

ON Gregg, panning across his field of vision with thebinoculars. He stops.

GREGGThere.

POV THROUGH BINOCULARS

The highest peak in the range, playing hide and seek withthe clouds.

BACK TO SCENE

Pindi's men see where Gregg is pointing. They murmur,trading grim glances at each other. Pindi jumps withnerves.

PINDI

There? Uh, boss, that is not sucha good mountain. The men don'tlike it very much at all. Yousee there is a legend they believein, that a creature lives there...

Gregg's back to checking his equipment.

GREGG'N'Gai Zamu.' The sacred guardianof Mount Pangani.

Pindi looks at Gregg, surprised he knows this.

PINDIYou know it? How funny!

(with dread)That's not, by any chance, whatyou are looking for, is it, boss?

Gregg looks from Pindi's nervous face to the seriousfaces of the trackers. They are all watching him.

(CONTINUED)


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14A.

17A CONTINUED: (2A) 17A

GREGGLooking for a legend? No. Why

would I do that?

Gregg takes the car keys from Pindi's hand.

(CONTINUED)


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15.


GREGGGimme those.

OFF Pindi -- not particularly thrilled...

CUT TO:

18 EXT. MOUNTAIN ROAD - DAY 18

The caravan trundles up a winding dirt road, into the mist-covered mountains.

19 OMITTED 19

20 EXT. MOUNTAIN - HIGH MEADOW - DAY 20

The vehicles are circled in a clearing. Three smallaudio dishes have been positioned to triangulate thelocation of the slightest sound. An infrared video cam is mounted on a tripod. A geometric, field-assembledcage made of an impact-resistant, high-tensile steelalloy sits off to the side.

21 OMITTED 21

22 EXT. MEADOW - DAY (LATER) 22

Gregg has earphones on, plugged into a backpack with aSony digital recorder, listening. The sound is ambientand mysterious.

Pindi stands behind Gregg, watching him carefully.

PINDIWhat are you listening to?

GREGGSounds.

Pindi listens to the jungle. It is full of sounds.Something small makes a RUSTLING SOUND a few yards away.

PINDILike that right there?

GREGGYup.

Pindi nods.

(CONTINUED)


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16.

22 CONTINUED: 22

PINDII understand completely: junglesounds! Very important. I know aguy, he can get you a C.D. ofjungle sounds, cheap. Evencheaper if you buy ten.

Gregg puts his hand up to signal for quiet.

He hears something.

He listens intently for a moment, then the WHOOSH of aSPRING TRAP BLASTS his ears, followed by shouts and thesound of an ANIMAL SCREECHING. Gregg throws off theheadphones, grabs a strange-looking pole called a DNA plug gun, and crashes with Pindi through the woods.

Gregg runs INTO FRAME to see several of Pindi's menclosing the cage on a lithe, young leopard.

PINDI(beaming)

How do you like that, boss? Itold you these men were the best.

Gregg kneels to inspect the leopard. He finds itbeautiful -- his face softens at the sight of it.

GREGG(soothing, to leopard)

You're a beauty.

Carefully, he extends the DNA plug gun and pricks the cat,startling it and causing all the men to jump.

GREGG(stands)

Okay, set him free.

Gregg and Pindi stand over the leopard. Pindi offers hisersatz smile.

PINDI(testing the water)

Why ask for a cage if you are notkeeping the animal?

Gregg releases the vial of blood from the DNA gun.

GREGGBecause I'm only keeping this.

(CONTINUED)


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17.


PINDIYes, but I know a guy, in Botswana,he'd pay you ten thousand Americandollars for that leopard. I'd be

willing to split with you --fifty/fifty.

Greg ignores Pindi. He's busy transferring the vial to acontainer. Pindi presses on.

PINDIPerhaps you're right. Sixty toyou, forty to me. That's a veryfair deal!

Still no response from Gregg -- he's logging notes into abook.

PINDIMy goodness -- you're anexcellent negotiator. Okay,boss! Seventy/thirty it is. (to his men)Take him to the truck.

The men bend over and hoist the cage up -- but now Greggblocks their way.

GREGGPut the cat down... now.

Gregg is one scary-looking bastard. The men drop thecage. Pindi back-pedals.

PINDI("angry," to his men)

You heard him... put it down!(to Gregg)

They never understand me. Idon't know what to do...

Pindi stops abruptly as his yammering is interrupted bythe LEOPARD, GROWLING.

SOUND CUE: A LOW RUMBLE.

Floating on the wind like DISTANT THUNDER. It seems tocome as an answer to the young leopard's cry. Birds flyout of the trees above the cage. The men are spooked.

(CONTINUED)


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18.


GREGG

quickly puts on his headphones and listens to theamplified sound again. HIGH-PITCHED SCREAMS -- thenthe rhythmic rondo of sharp POK-POK-POK-POK CHESTBEATS.

Pindi is on the verge of panic. He forces his trademarksmile.

PINDIUh, excuse me. Time to flee,right?

POV - TREES

The top branches suddenly shake violently -- sending asharp WOODEN RATTLE across the meadow. Is that a shadowfrom a passing cloud that seems to ripple through thefoliage? Gregg steps closer. The trees bend like the

wake of a boat -- they bend in a straight line.

Something powerful and unseen is moving through thetrees.

Pindi and his men retreat back in the meadow. Greggscans the forest. BRANCHES spring with a LOUD WHOOSH!

Gregg can't help it -- his fear takes over and hebacksteps into the meadow.

WIDEN SHOT UP TO the trees. Catapulting DOWN THROUGHFRAME -- landing right in front of them is a gorilla --nearly 15 feet high. The GROUND TREMBLES from the force.

A nearby Land Rover bounces two feet into the air from theimpact.

His canines are fully exposed. Thick, black hair on hiscrest stand erect. Deep brown eyes aglow as he givesanother DEAFENING CALL. This is JOE. Backlit by the sunhe seems to encompass the forest.

PUSH IN CLOSE ON Gregg's reaction. In complete awe.

GREGGDon't anybody move.

PINDI(frightened out of his wits)

How about... I move... just overhere...

(CONTINUED)


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19.


Pindi scurries for cover behind the frozen, awe-stricken trackers.

ANGLE - JOE

moves to the cage and peers inside. The LEOPARD paces andHISSES. Joe straightens up bi-pedally and pounds his

massive chest with his fist. The hollow POK-POK-POK ECHOESoff the mountain.

Joe raises his hand again and smashes the top off thecage, as if it were made of matchsticks. The leopardleaps out of the cage and dashes safely into the forest.JOE bares his teeth and ROARS at Gregg, as if to say"stay off my mountain." His mission accomplished, Joequickly turns and starts back for tree cover.

Silence. Everyone is open-mouthed, unable to believe what they have just seen...

Then Greg snaps out of it. Bursting into action, he runsto the humvee, motions to Pindi.

GREGGCome on!! We're going after him!

PINDIWhat is this 'we'? There is no

way my men will ever agree to...

Gregg yells to the paralyzed trackers:GREGG

(in Swahili)Three times your price.

(in English)Triple your fee.

That's what it's all about. The men get a move on,running for the vehicles as fast as they can.

ENGINES REV, DOORS SLAM, as the trackers ready for thechase. All four cars pull out.

22A OMITTED 22A

23 EXT. MEADOW 23

All is silent for a moment, then Joe EXPLODES INTO FRAME.Joe hears the DRONE of ENGINES -- turns to see --

(CONTINUED)


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20.

23 CONTINUED: 23

JOE'S POV

The caravan, looking like the cavalry in a Western, comescharging over the hill.

Gregg's humvee comes crashing over a ridge in pursuit ofJoe. Gregg yells out to the cars around him:

GREGGHerd him towards me! I gotta getclose.

Gregg grabs his DNA stick and grins at Pindi.

GREGGReal close.

Pindi realizes with a sickening feeling that Gregg ishaving a major rush.

ANOTHER ANGLE

The lead car, a Land Rover, comes right up behind Joe.

BACK TO SCENE

Joe -- sensing the car next to him, turns and ROARS...

LAND ROVERThe guy with the tranquilizer RIFLE panics and FIRES!

BACK ON JOE

The dart hits his arm. Uh oh. That was a mistake.

INT. LAND ROVER

The tracker has just enough time to get a good look atJoe's furious expression before... WHAM!

Joe throws his shoulder into the side of the Land Rover,sending it tumbling end over end into a ravine.

ON GREGG

Disgusted with the guys' stupidity.

(CONTINUED)


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21-22.


GREGGExperienced trackers, my ass!

Pindi shrugs. The two of them watch as Joe continuesrunning, then changes directions and starts headingstraight for them. The humvee has to swerve out of the

way to avoid colliding with Joe.

FOLLOW JOE as he books across the meadow in the oppositedirection, now. The modified Land Rover with the hotseat attached to the hood swerves around and chases Joe.They catch up, and the tracker climbs into the hot seat,readying a metal clamp attached to a chain...

GREGG

tries to yell across at him.

GREGGNo, we don't want to...

Too late, the guy's slapped the clamp onto Joe's arm.

Joe ROARS, tries to shake off the chain, then speeds up.

THE CHAIN

unspools rapidly, whipping out from the front of the modified Land Rover. Quickly, it grows taut and now the

Rover is being pulled by Joe. The driver slams on thebrakes with both feet, but all that does is tilt the front

end upwards, digging up clods of dirt as they're draggedalong.

JOE

feels the increased pull, and is starting to get annoyed.He heads right for...

STAND OF TREES

The guy in the hot seat is battered by branches and leavesas they're dragged through the trees.

BACK ON HUMVEE

Now circling around the stand of trees, trying to catch up with Joe when he emerges from the opposite side.

GREGGHold the wheel!

PINDI(terrified)

Oh, sure.(CONTINUED)


26/143

23.


Gregg hands the wheel over to Pindi as he reaches forhis DNA gun...

THEIR POV

Joe has just emerged from the tree stand, dragging thethoroughly-battered, modified Land Rover and its dazedoccupants. Joe sees the humvee heading towards him.

CLOSE ON JOE

His brow furrows. Is he coming up with a plan? He makesa ninety degree turn...

BACK ON GREGG

Who is intently screwing a telescoping extension on theDNA plug gun. Pindi gapes at what Gregg is doing.

PINDII hope you are planning onthrowing that at him, because...

GREGGPindi! Look out!

Pindi looks forward again just in time to see...

THE CHAIN

Pulled taut between Joe and the modified Land Rover, hasbecome a moving clothesline, and the humvee is headingright into its path. Pindi tries to swerve, but theycan't avoid it. He ducks and...

Gregg leaps out of the car, hurdling the chain, just as...

It shears the top right off the vehicle!

Gregg tumbles to the ground, as the humvee rolls to a stopnearby. Meanwhile, the --

LAND ROVER

is SPINNING OUT, still connected to Joe. Joe is almostcurious about the chain. He begins to pull back as the

modified Land Rover circles him. The modified Land Roverbucks -- and for a second there is a standstill. Then Joeyanks...

(CONTINUED)


27/143

24.


And the chain, the winch, the tracker in the hot seat...in fact, the entire axle of the modified Land Rover, arepulled from their moorings.

The tracker racks up against a tree, followed closely byhis chair and winch...

The axle tumbles to a stop...

The LAND ROVER COLLAPSES like a stack of cards.

JOE

stands at the edge of the field, observing his victory.Then he beats his chest and ROARS.

IN MEADOW

Pindi and his men run to the one remaining car, theflatbed lorry. They all pile in and speed away acrossthe field. Pindi sees something up ahead, yells at thedriver.

PINDIStop!

The LORRY SCREECHES to a halt, right next to Gregg, who isstumbling towards them.

PINDIHurry up, bro! Get in!

Pindi watches as Gregg stumbles around to the back of thetruck. But instead of getting in, he grabs a silver caseand pulls it off.

PINDIExcuse me, boss, but please, I

would like to avoid being killed.

Gregg flips opens the case, revealing a video camera. Hehoists it up, and barely able to walk, takes one lastlook at Pindi and the bruised and busted-up trackers.

GREGGGet those men down the mountain.They need help.

Gregg takes off after Joe. Pindi can't believe it.

PINDICrazy Americans!

(CONTINUED)


28/143

24A.


He slaps the driver on the shoulder.

PINDIGet us out of here.

They PEEL OUT of there...

GREGG'S POV

Staring down the path of crushed growth that Joe has leftin his wake. He takes a deep breath, then exhales. Thenhe heads off into the jungle.

24 EXT. PANGANI FOREST - MOVING - DAY 24

FOLLOW Gregg DOWN a wide trail of broken limbs leadinginto the densest part of the mountain. Thorns andstingers scratch Gregg as he fights his way through.

THROUGH VIDEO CAMERA

The green paradise of the mountain rushes right AT us.Bright blossoms and strange insects. The sun diffusesin daggers of light.

INTERCUT WITH:

EXT. PANGANI FOREST - BACK WITH GREGG - DAY

Gregg climbs over a fallen tree. Ducks under some lowbranches. Stops to catch his breath. He listensintently. Takes another step forward. Hears a TWIGSNAP.

THROUGH VIDEO CAMERA

PAN RIGHT. Joe springs out from hiding -- as gorillaslove to do to enemies. He charges Gregg and cuffs him onto his back. Joe is in full attack mode -- eyes wide,teeth exposed. He snatches Gregg by the foot.

GREGG

screams as he's jerked helplessly into the air. Joeshakes Gregg viciously -- then whips him back and forth,knocking him against a sapling. Gregg fights to freehimself but he's no match for Joe's strength. He knowsJoe is going to hurt him badly -- maybe kill him.

Joe cocks his arm -- to crush Gregg against a wide treetrunk.

(CONTINUED)


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25.

24 CONTINUED: 24

JILL (O.S.)Joe! Stop!

Joe looks surprised, caught with his hand in the cookiejar.

GREGG'S UPSIDE-DOWN POV

A beautiful young woman is standing ten feet from him.

BACK TO SCENE

GREGGOh, wow.

JILLJoe...

ON Jill -- she looks at Gregg like he's the lowest form of life on earth.

JILL ... drop him.

And Joe does, dropping Gregg hard to the ground. On hishead.

CUT TO BLACK.

25 OMITTED 25

26 INT. VILLAGE INFIRMARY - DAY 26

OVER BLACK, we hear the MURMUR of VOICES, speaking inSwahili. PICTURE FADES UP...

POV SHOT

LOOKING UP AT KWELI, 12 years older than we last sawhim. Kweli looks right INTO CAMERA, then says somethingover his shoulder in Swahili.

REVERSE ANGLE

Bruised and bandaged, Gregg blinks, trying to bring hiseyes into focus.

(CONTINUED)


30/143

26.

26 CONTINUED: 26

GREGGWhere am I?

KWELIThe infirmary. You've beenunconscious for an entirenight. You're lucky to bealive.

Gregg winces as he slowly raises himself to his elbows.

GREGGStrange, I don't feel lucky.

He takes in his surroundings; a simple infirmary. THROUGHthe open door, he can see the village he started his tripin.

KWELIYou crashed your vehicle. Itis waiting for you outside.

GREGGYou're an injury behind. Thekicker was getting dropped on myhead by N'gai Zamu.

Kweli chuckles.

GREGGThink that's funny? You should

try it?KWELI

N'Gai Zamu is just a legend, myfriend.

GREGGNo, he's a giant gorilla with a

mean backhand. There was alsoa woman...

Gregg tries to get up. It's an ordeal.

KWELI A woman?

(CONTINUED)


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27.


GREGGOut in the jungle. She saved mylife. A beautiful woman.

Kweli gives him a patronizing smile.

KWELIYou were dreaming, Mr. Ohara.

GREGGNo. I never remember my dreams.

Gregg sits up in bed and swings his feet to the floor.Kweli turns and heads for the door.

KWELIIt would be wise for you to see adoctor in Kimjayo. I took theliberty of calling one for you.

GREGGDon't need one.

KWELIBut he is expecting you. If youcan drive, you should leave today.

Kweli walks out of the room. Gregg squints after him,sensing that something is up.

CUT TO:

27 EXT. INFIRMARY - LATER 27

Gregg walks gingerly out of the infirmary, looking likecrap. He squints in the bright midday sun, then spots...

The humvee, a mere shadow of its former self, parkedright near the infirmary, covered with a tarp. Greggpulls the tarp back to find all his expensive equipment,a good deal of it broken, pitchforked into the back. Hescowls.

He starts rummaging through the stuff, looking for some-thing in particular. Then he finds it -- his videocamera, covered with mud, but seemingly in good condi-tion. He pushes the record button. Light goes on.Still works.

He pops open the tape slot, and his face falls. Thevideo cassette has been removed.

(CONTINUED)


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28.

27 CONTINUED: 27

GREGGDamnit.

Just then, a group of village schoolchildren dash byGregg. They are giggling, as if they had dared eachother to run up to the stranger. They sing out the oneEnglish word they know as they pass:

SCHOOL CHILDRENHello! Hello! Hello!

Gregg shakes his head, smiling, and follows them with hiseyes as they fly by like a flock of birds. He watches asthey dart into the open air market, playfully knockingaside a familiar individual:

Kweli. We watch from...

GREGG'S POV

as Kweli steps into a fruit stall, letting the kids flyby him.

Then Gregg's eyes widen as a tall and lovely young woman steps INTO VIEW next to Kweli.

BACK TO SCENE

He watches as they shop together, realizing that this is,

in fact, the beautiful young woman who saved him.

28 OMITTED 28& &28A 28A

29 EXT. OUTDOOR MARKET - THAT MOMENT 29

Kweli and Jill have a familial ease with each other asthey pick out their groceries.

KWELIOur visitor must be feelingbetter. He should be leavingthe infirmary today.

Jill looks up toward the infirmary and sees Gregg leaningagainst his truck, watching them.

JILLLooks like he just has.

(CONTINUED)


33/143

29.

29 CONTINUED: 29

Jill nods across the street. Kweli looks and sees thatGregg is leaning against his Jeep, arms folded acrosshis chest, staring at them with a mixture of amusementand irritation.

JILLHe's walking so soon. Joe shouldhave dropped him harder.

KWELIHe's not a poacher, Jill. He's

working for an animal conservancyin California.

JILL(shrugs)

He can't be trusted. He's anoutsider.

KWELI A grateful outsider. He told me

he was saved yesterday by a woman.(teasing Jill)

A beautiful woman.

Jill looks at Kweli sharply, then back across the streetat Gregg, whose eyes continue to assess her. She looksstraight back at him, locking into his gaze.

JILL And what did you tell him?

KWELIWhat could I tell him? He knows

what he saw. He's not a fool.

Jill and Gregg are still holding each other's eyes.

JILLI'll be the judge of that.

Across the street, Gregg is breaking into a big, slowsmile. It unnerves Jill. Kweli, always Jill'sprotector, catches the action between the two of them andbristles a bit -- but Jill has already turned her backand taken off through the back of the market.


If Ruth Young was suited to these woods, her daughter wasborn to them.

(CONTINUED)


34/143

29A.

30 CONTINUED: (A1) 30

She hikes through the forest effortlessly, as though it were her own back yard.

As she walks near the banks of a river, however, shestops. She listens carefully, sensing something outthere, in the jungle.

BEHIND TREE (NEARBY)

Gregg, his video camera in one hand, stands stock stillbehind a tree, trying to avoid being discovered. He isabsolutely drenched in sweat, the long hike clearly muchharder than Jill has made it look.

(CONTINUED)


35/143

30.

30 CONTINUED: 30

BACK TO JILL

Still listening. All she can hear are the familiarSOUNDS of the JUNGLE. A moment passes, then she shakesit off and keeps moving.

CUT TO:

31 EXT. WATERFALL - CONTINUOUS ACTION 31

Jill comes out into a clearing, bordered by a large poolat the base of a magnificent waterfall. She pulls aflashlight out of her back pack and, in the same motionher mother used to summon her, begins waving it back andforth into the surrounding forest.

GREGG

watches this bizarre ritual, wondering what Jill couldpossibly be doing.

CUT TO:

JOE'S POV - DEEP IN WOODS

The beam of light cuts through the deep green darkness ofthe trees.

BACK TO SCENE

Jill continues waving the flashlight, waiting for aresponse. Then, we hear the sound of SOMETHING LARGE

APPROACHING.

ON GREGG

The thunderous sound making him nervous...

ON JILL

Not so Jill. She waits calmly, at first, as the FOOT-STEPS APPROACH. Then, as the branches begin to bend andbreak, and we get our first glimpse of fur, she smiles.

Mighty Joe Young emerges from the brush, not growling,not threatening, but rather looking like a puppy comingto greet his master.

(CONTINUED)


36/143

31.

31 CONTINUED: 31

JILL(cooing to Joe)

Hey, handsome. How are you?

ON GREGG

Absolutely thunderstruck, watching in awe as the giantGORILLA bows his head so Jill can scratch behind his ear.He makes LOW, GUTTURAL SOUNDS that are the gorillaequivalent of a purr.

Jill inspects Joe, checking him to see if he's okay. Hervoice is full of gentle concern and worry.

JILLWhat were you thinking yesterday,letting those men see you? Don'tdo that again, okay? Please.

(praying to herself)Please.

We see the fear in Jill's face, knowing that Joe can'tunderstand what she's saying. She shakes it off andbrightens. She gives Joe a playful tussle, then coversher eyes with her hands.

JILLOne. Two. Three. Four...

It takes only a moment for Joe to respond. His eyes open

wide, he looks in every direction then, suddenly, crashesinto the woods!

JILL... seven, eight, nine, ten.

(yelling)Ready or not, here I come!!

And Jill runs into the woods after Joe.

CUT TO:


Jill walks through the forest, searching for Joe. Itshould be clear by now that they are playing hide andseek.

(CONTINUED)


37/143

31A.

32 CONTINUED: (A1) 32

JILL(theatrically)

Oh, my God! I can't find Joe.Where's Joe?

She stomps around, pretending not to see him. Of course,she knows exactly where he is. He's so big, the treehe's standing behind barely hides one leg.

CLOSE ON JOE

He can't help peeking. He loves this.

(CONTINUED)


38/143

32.

32 CONTINUED: 32

Jill pokes her head around every tree.

JILLCome out, come out... whereveryou are!

Then, pretending that she just spotted him, she chargesright at him.

JILLI found you!

JOE ROARS, delighted by their game. Jill tussles withhim, then gets a mischievous look in her eye.

JILLBye-bye, Joe!

Suddenly, she dashes into the woods -- where she'sactually small enough to hide well. Joe passes by her,

moving through the foliage.

In a moment we see how much he fears actually losing her-- he begins to WHIMPER -- and spins around. He standsup to his full height, beats his chest and shakes hishead in frustration. He can't bear the idea that she isgone.

A beat, then Joe starts tearing bushes out by their roots,hunting for Jill. He sees one BUSH RUSTLING, goes overand rips it out of the ground, revealing...

GREGG

Standing there, completely exposed, filming all this with his dented video camera. He looks up at Joe

towering over him.

GREGGOh boy.

JOE ROARS!

Gregg stumbles backwards, trapping himself against a treeas Joe advances. Remembering what one should do whenfaced with an enraged gorilla. Gregg averts his eyes androlls into a ball, assuming the submissive position. He'slike a pill bug, playing dead, protecting the back of hisneck with his arms.

Joe raises his mighty fist -- it looks like he mightsmash Gregg anyway... but then he hears Jill's voice.

(CONTINUED)


39/143

33.


JILL (O.S.)(soothing)

Joe! It's okay.

Joe stops and turns his head to Jill.

JILLNow get out of here, Joe. Run.

Joe looks at her, not sure why her tone's gotten so stern.

JILLRun, Joe. Run!

Joe looks back at Gregg, still curled into a tight ball.He gives him a playful, parting swat for good measurebefore obeying Jill and running into the forest.

The "little swat" is powerful enough to send Gregg rollinglike a croquet ball into a thicket of bushes. Painfully,he uncurls, plucking nettles out of his legs as Jillapproaches.

GREGG(pulling out a nettle)

Nobody better try and tell me Iimagined this.

Jill reaches down to Gregg. He thinks she's offering him a hand up.

JILL Anything broken?

GREGG(checking himself)

No... no. I think I'm... oh.

Gregg's voice trails off as Jill reaches for the videocamera, not him. She examines the camera.

JILLHmm -- it looks okay. I thinkit's still working.

GREGG(relieved)

Oh -- good.

JILLWell -- I can fix that.

(CONTINUED)


40/143

34.


Jill smashes the camera into a tree, breaking it forgood. She drops the pieces onto the ground and takes off.

GREGG(calling after her)

Hey -- wait a minute!

32A EXT. RIVER BANK 32A

Jill is making good time down the rough terrain of theriver bank. Gregg catches up to her.

GREGGHang on a second -- what's theproblem?

JILLYou. You're the problem. That'sthe second time I've stopped youfrom being ripped in two -- andnext time I'm just going to watch.Understand?

GREGG(appeasing)

You saved me. I'm grateful. NowI just want to talk to you -- MissYoung.

Jill stops in her tracks and shoots Gregg a surprised

look. He explains gently.GREGG

I know who you are. I read allyour mother's work. Books...notes... everything I could get ahold of.

JILL(hiding emotion)

So?

GREGGSo it's why I'm here.

Jill gives a short nod, accepting this tribute. Sheturns back around and resumes walking. Gregg follows,bursting with questions.

(CONTINUED)


41/143

35.

32A CONTINUED: 32A

GREGGShe knew about Joe? Did she havea theory on him? How old is he?I can't believe you kept him asecret all these years. How'd you

manage that?

JILLBy keeping people like you off the

mountain.

GREGGYou got this all wrong. I want tohelp you.

JILLYou're not helping anybody here.You're just making matters worse.

GREGGHow's that?

JILLThis mountain will be crawling withpeople, thanks to you. You go backto wherever you're from, put the

word out...

GREGGThe word is out. It's done. I'm not the only one who saw him, remember?

Rare animals mean big money and Joe'sas rare as they come. It's going tobe tough to protect him here. Maybeimpossible.

Jill spins on him.

JILL'Here' is Joe's home. And 'here'is where he must live. He doesn'thave a choice.

GREGGThat's not true. Place that sent

me could take care of Joe. Theygot the facilities...

JILLJust what Joe needs. A cage.

(CONTINUED)


42/143

35A.


GREGGNot a cage, a preserve. A place

where he'll be free from poachers,free from land development...

JILLBut he won't be free.

GREGGHow long do you think Joe willstay free here? I'm telling youthere's gonna be a hunt startingon this mountain tomorrow. And Idon't expect they'll give it upuntil one of them bags the prize.You should think about it.

Jill hates the ring of truth in Gregg's words. She turnsand takes off down the mountain alone.

CUT TO:

33 OMITTED 33

34 EXT. RAHA PRESERVE AND CONSERVANCY (BOTSWANA) - SUNSET 34

Giraffe roam the grounds of a lush, private preserve,surrounding a large, opulent, main house.

ANDERSON (O.S.)Quite an impressive facility youhave here, Mr. Strasser.

35 INT. LODGE - SUNSET 35

STRASSER sits in a leather chair, in an expensively-appointed room. His rough exterior has been polishedby money, but his cold eyes have not changed. Sittingacross from him is ANDERSON, the button-down director ofthe Cascade Park Zoo.

ANDERSONTell me, why is it that you keepsuch a low profile about this

wonderful place?

STRASSEROur only interest is the well-being of our animals.

(CONTINUED)


43/143

36.

35 CONTINUED: 35

ANDERSON(satisfied)

Well, I think I've come to theright place for Morris.

Anderson puts some photos on the coffee table.

CLOSE ON PHOTOS

of a full-grown Bengal tiger, looking miserable in afairly small enclosure. We see insignias for the CascadePark Zoo on the fences around him.

ANDERSONYou can see how depressed he is.He's grown out of his habitat, andour zoo doesn't have the budget todo anything about it. That's whyhe needs a new home.

Strasser reaches out to pick up the photos, and as hedoes...

CLOSE ON STRASSER'S HAND

A black leather glove-like apparatus with a thumb andforefinger in place that gives the appearance of a whole,if menacing, hand.

STRASSERPoor thing. Yes, he will be muchhappier here on our preserve.Back to the wild. Free again.

A door opens behind Anderson. Garth sticks his head inthe room.

GARTHPhone for you. Urgent.

Strasser stands.

STRASSERWill you excuse me, Mr. Anderson?

Strasser turns and follows Garth through the door,into...

CUT TO:


44/143

37.

35A INT. BACK ROOM (RAHA) - CONTINUOUS ACTION 35A

... a room that would give dear Mr. Anderson nightmares. A man in a white smock is packaging poached rhino horns

into boxes. The boxes, labelled medical supplies, arebeing sent to addresses in China.

On another wall, in front of a bank of telephones, is adry-erase board covered with animal names, and theirrespective prices.

STRASSERSee what our friends in China willgive us for a Bengal tiger, Garth.

Strasser hands Garth the photo of the tiger.

GARTHLooks like a big fellah.

(excited, looking at photo)

I'll set a new record with you.

Strasser picks up one of the phones. He idly plays witha rhino horn as he talks to Pindi.

STRASSERStrasser.

PINDI (O.S.)It's about time already! You knowhow long I am waiting? A man canonly carry so much change...

STRASSER(irritated)

What do you want, Pindi?

CUT TO:

35B EXT. VILLAGE - SUNSET 35B

A small street of stores -- all covered in brightly-painted advertisements. Outside one store is a lone payphone -- manned by Pindi. Pindi speaks furtively, so asnot to be overheard. INTERCUT conversation.

(CONTINUED)


45/143

38.

35B CONTINUED: 35B

PINDINot what I want, boss, what you

want. How about a giant gorilla?

STRASSERTalk.

PINDIBig as three men, two thousandpounds, at least.

STRASSERYou've been drinking, haven't you?

PINDISwear to God, boss. Saw him with

my own two eyes.

STRASSERDon't waste my time again.

ON PINDI

There is a CLICK on the LINE.

(CONTINUED)


46/143

39.

35B CONTINUED: 35B

PINDIHello? Boss...

Now a DIAL TONE. Pindi looks at the phone.

PINDII'll catch him and charge youdouble, madar chode.

Pindi smashes the phone down on its cradle.

CUT TO:

36 EXT. VILLAGE - MORNING 36

In the center of the village, two trucks of rough-looking men are gassing up their vehicles. A third truck arrives

from the other direction.

It's a POACHER we recognize, one of Pindi's men,accompanied by a half dozen others, all armed with rifles.

ANGLE ON JILL

She steps out in front of the Poacher's truck. Thedriver SLAMS on the BRAKES, stopping within an inch ofstriking her. Alarmed, the Poacher stands in his seatand screams at Jill.

POACHERStupid girl! What do you thinkyou're doing?

Jill calmly walks up to the Poacher's side of the vehicle.

JILLI found this in the forest this

morning. Thought maybe youdropped it and might want it back.

With that, Jill brazenly steps forward and throws a netover his head. It's a poacher's net.

Enraged, the Poacher slowly pulls the net off his head.The other poachers find the scene hilarious. Itinfuriates Jill.

JILLPoaching is illegal! Get off this

mountain!

(CONTINUED)


47/143

40.

36 CONTINUED: 36

The Poacher and his driver exchange a significant look.Nodding to each other, they start to climb out of theirtruck, eyes glaring at Jill...

KWELI (O.S.)Jill! Jill Young!

Everyone turns to see Kweli walking quickly towards them.

KWELI(to Jill)

Come here immediately! You areneeded at the school this moment!

Kweli is trying to give her a way to save face. Jillknows it, but she doesn't want to back down before thepoachers.

Kweli snatches Jill by the elbow and drags her away. Thepoachers hiss and cat call. Jill walks away slowly. She

wants to make sure they know she's not running.

Kweli hisses furiously into her ear:

KWELIWe have to talk. Now.

36A INT. RUTH'S HUT - DAY 36A

This is Jill's mother's hut. It is full of significant

mementos -- her mother's old bulletin board, photographs,research, etc. It feels homey.

Kweli, distraught with worries over Jill, rips a photo ofher mother from the wall and shoves it in front of her face.

KWELIYour mother slept in this bed.She worked at this desk. She diedin this jungle. Do you plan to doeverything just like her?

JILLMy mother would have been proud of

what I did today.

KWELI(angry)

Proud? Of that foolishness outthere? Of you risking your life?

(CONTINUED)


48/143

41.

36A CONTINUED: 36A

JILLShe risked hers -- why shouldn't Irisk mine? I'm just doing what Ipromised, and I promised to protectJoe. And I'm going to doeverything I can to stop thepoachers...

KWELIYou can't stop them.

(more gently)Even she couldn't stop them.

Jill holds the photo of her mother tightly in her hands.

KWELIJill, the other gorillas have

moved south, to safer lands...but Joe has stayed behind.

JILLThey don't want him. They won'tlet him come.

KWELIMaybe... or maybe you won't lethim go.

JILL(sharply)

He needs me.

It's only half the truth, and they both know the otherhalf -- that Jill needs Joe, too. Kweli sighs. He putshis hand protectively on Jill's shoulder.

KWELIThe danger here is building forboth of you. I feel it -- and sodo you.

Jill looks away. She knows he's right.

KWELII know what the American isoffering, Jill.

Jill looks into Kweli's eyes. He must be very worried,to be checking around like this.

KWELIThink about what he has to say.That's all I ask.

Kweli leaves Jill to mull it over.


49/143

41A.

37 OMITTED 37

38 EXT. GAS PUMP - DAY 38

A poacher's truck, carrying six rowdy poachers, speedsdown the main street, kicking up a cloud of dust. Thedust cloud envelops Gregg, making him cough as he repackssome of the damaged equipment in his truck.

(CONTINUED)


50/143

42.

38 CONTINUED: 38

He hears more coughing behind him and turns to find Jillat his shoulder. She has a troubled air about her --clearly she is wrestling with something.

JILLLeaving?

Gregg nods, continuing packing.

GREGGI'm gonna head up the mountain.See if I can throw some of thepoachers off the trail.

JILL(dubious)

You think it will work?

GREGGNot for long. Just trying to buyyou a little time, that's all.With more of these bastardsarriving every hour, I suggest youget Joe as deep into the jungle asyou can -- as fast as you can.

Across the street at the bar, a chorus of CACKLES risesfrom a group of drunken poachers. The mere sound of them

makes Jill dig her fingers into her arms with anxiety.

She looks across at the poachers -- and then back to

Gregg, packing up. If she doesn't say this right now,this second, she never will. She snaps.

JILLOkay!

GREGGOkay what?

JILLOkay we'll go.

Gregg turns and looks at her.

GREGGWe?

JILLMe and Joe. To that place ofyours in California.

(off Gregg's look)What?! You didn't think you couldtake him without me, did you?

(CONTINUED)


51/143

42A.


Gregg stops packing to look squarely at Jill.

GREGGYou're sure about this?

JILLNo. I am completely unsure aboutthis. But I'll do it. On onecondition.

GREGGName it.

JILLI'm in charge of Joe.

GREGGDone.

JILL(suspicious)

Done? Just like that? That was way too easy.

GREGGYou're not a very trusting soulare you, Miss Young?

JILLNo, I'm not.

GREGG(sarcastic)Tough, isn't it? Trying to measure

me up -- decide if I'm a fraud...

JILL... or a fool.

Gregg smiles, half sour, half amused.

GREGGWell, I'd like to know if you'rea bona fide lunatic or just a

mixed up monkey girl but -- but Iguess we'll have to take ourchances and figure it out as we goalong.

Jill snorts. Gregg looks her straight in the eye.

(CONTINUED)


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42B.


GREGGCome on, Jill. Trust it. You'llbe in charge of Joe.

(extends hand)Let's shake on it.

JILLI don't shake. That's not how we

make pacts around here.

GREGG(growing impatient)

Alright, how do you make pactsaround here?

JILLYou have to endure a bite from aMakiki spider.

GREGG A what?

JILLYou'll have a high fever andhallucinations. You'll saythings -- lots of things. We'llhear what's in your heart. Then,if your intentions prove true, thepact is made.

Gregg nods to himself, considering.

GREGG A spider bite and hallucinations?

JILLThat's right.

GREGGThen you'll trust me and let mehave Joe?

JILLThat's right. Well?

Gregg cocks his head.

GREGGWell... I think... that's thebiggest load of crap I've everheard.

Jill smiles. She's satisfied. This is the answer she was looking for.

(CONTINUED)


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42C.


JILLGood. Maybe you're not a foolafter all.

Gregg scoffs, realizing she was only testing him. Jillturns and starts walking away. Gregg calls after her.

GREGGGet your things together. Fast.We're getting out of here as soonas we can.

Gregg watches her go, head held high like a queen. Hechuckles to himself. It's hard not to appreciate thisgirl.

GREGG(to himself)

Makiki spider.

39 EXT. MOUNTAIN TRAIL - MOVING - DAY 39

Jill bursts INTO FRAME -- racing at full stride, longhair flowing -- so reminiscent of that little girl we sawbefore -- a wild mixture of fluid grace and strength.The trees seem to fly apart behind her revealing Joe --running with her. As if speed alone could make theirenemies disappear.

40 EXT. MEADOW - DAY 40Jill watches the clouds rush by the mountaintop. Joestands next to her, looking out at the mountain valley

where they've grown up together.

Wind sweeps down from the peak. The trees bow and bendgracefully. To Jill, the mountain has never seemed morebeautiful. She looks at Joe -- magnificent against thenatural tableau of his world. She looks at him, worry onher face about what is about to happen to him.

He looks at her trying to understand.

JILLI don't know what else to do.

CRANE UP so we can see Joe and Jill against the Edenic mountain vista.


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42D.

40A EXT. WILDLIFE CONSERVANCY - MOUNTAIN TOP - MORNING 40A

Backlit against a blue sky. PAN DOWN as the wind RUSTLESthe TREES and a flock of small birds appear and disappearlike a storm cloud. CONTINUE DOWN PAST a waterfall, as

we COME TO a grassy field, then a moat, then, finally, arailing at the edge of an observation area.

(CONTINUED)


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43.

40A CONTINUED: 40A

NOW REVEAL

That what we are looking at is not, in fact, the Africanlandscape, but rather a fabricated habitat, encircledby a sprawling campus of stucco buildings.

Workers in matching uniforms with the "CALIFORNIA ANIMALCONSERVANCY" logo on them, run back and forth, a hive ofactivity in anticipation of the new arrival.

PULL IN ON two of them, walking and talking: DR. HARRYRUBEN, the Conservancy's Director and Chief Zoologist,and DR. CECILY BANKS, an African-American veterinarian

with long braids stuffed under a baseball cap.

HARRYThis is crazy. All I said was,'Bring back some blood samples.'So what does he bring back? A giant gorilla.

CECILYDon't even pretend to be upset,Harry.

HARRYYou know how much it cost toconvert the tiger habitat? Tryhalf our operating budget.

CECILY

You'll be on the cover of NationalGeographic, Harry.

HARRYHey, I just said it was crazy. Ididn't say it wasn't worth it.

They continue walking, and we...

CUT TO:

41 OMITTED 41thru thru44 44

45 EXT. SAN DIEGO FREEWAY RAMP - MORNING 45

A busy freeway, near Los Angeles. FIND a car with aCalifornia Animal Conservancy logo on the side...


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44.

46 INT. CAR - MOVING 46

Gregg drives. Jill, almost bouncing with anxiety andexcitement, rides shotgun.

JILLThere are more cars on thisroad than I've seen in myentire life, total.

GREGGWelcome to L.A.

Jill whips around in her car seat and peers anxiouslythrough the back window.

JILL'S POV

We see the cab of a large trailer following their car.

BACK TO SCENE

JILL(anxious)

Think he's okay back there? Ithink he's okay back there.

Three seconds pass.

JILLYou think he's okay back there?

GREGG(soothing)

Don't worry. He's doing fine.

JILLSorry. I'm a little tense.

(checking behind her again)

Yeah. I think he's okay backthere.

GREGGGood. Thanks for the update.

Jill pulls herself away from the back window and facesfront again. She stares out at the nondescript sprawl ofgreater L.A. It looks like non-place. There is no"there" there.

(CONTINUED)


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45.

46 CONTINUED: 46

JILLSo this is L.A.

(perplexed)It all looks the same. How do youknow where you are?

GREGGBeach is that way, mountains arethat way, Mexico's that way,Canada's that way. Don't worryabout the rest -- you'll never seeit through the smog.

Gregg glances over at Jill. She is drumming her fingersin her lap with nerves, not listening to a word he'ssaying.

Gregg smiles with empathetic amusement.

GREGGMaybe you better check and see ifJoe's okay back there.

Jill obediently whips around in her seat to check forJoe -- then realizes Gregg was teasing. She settles backdown, facing front again.

JILL(blushing)

Ha ha.

47 EXT. SAN DIEGO FREEWAY RAMP - CONTINUOUS ACTION 47

A livestock truck, same conservancy labels, travels rightbehind Gregg and Jill's vehicle. Heavy, open air slatsobscure the truck's occupant, but we know who it is.

JOE'S POV - LOOKING OUT

Traffic rushes by, a buffeting rush of air -- thestrangeness of it all frightens Joe -- and makes him curious. PUSH IN CLOSE ON the air slats as Joe peers outagain.

POV SHOT - MINIVAN

comes INTO FRAME passing by the trailer.


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45A.

47A INT. MINIVAN 47A

A mom drives her son home from little league. Shelistens to an OLDIES station. He looks out the window,bored. Then his eyes go wide.

BOY'S POV

PUSH IN CLOSE ON the trailer and Joe's two big eyesstaring out. They lock eyes momentarily.

The boy isn't sure if he's seeing things. Then twoenormous fingers extend out from between the slats and

wave at him.

BOY

For the boy it is a beat of pure astonishment. As if adaydream came real for the moment. The trailer pullspast leaving the boy wide-eyed, wondering.

CUT TO:


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46.

48 EXT. CALIFORNIA ANIMAL CONSERVANCY - DAY 48

Gregg and Jill's car pulls onto the grounds of theCalifornia Animal Conservancy. A sprawling campus ofstucco buildings and lifelike habitats, the conservancyis a state-of-the-art preserve.

The car passes the main gate, where a worker in aconservancy uniform waves Gregg through. As the live-stock truck pulls in behind them, the worker picks uphis walkie-talkie.

CONSERVANCY WORKERMain gate to Dr. Banks. They'repulling up now.

CUT TO:

49 EXT. JOE'S HABITAT - DAY 49

Cecily clicks off her walkie-talkie, turns and yells toanyone in earshot.

CECILYElvis is in the building! Irepeat, Elvis is in the building...

On her order, workers in matching conservancy uniformsstart moving into position around Joe's Habitat.

NEAR OBSERVATION AREA

A crane is lowering a platform into place that willstraddle the moat. Harry scowls, seemingly unable toenjoy the moment.

CECILYYou hear that, Harry?

From around the conservancy, we can hear the sounds ofthe other ANIMALS, SCREECHING, SNARLING, BELLOWING...

CECILYThey smell him.

HARRYGregg, or the gorilla?

They both turn as...

(CONTINUED)


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47.

49 CONTINUED: 49

CONSERVANCY CAR

pulls up right in front of them. Gregg gets out first.

HARRYI'm confused, O'Hara. You phoneus to say you're bringing back atwo thousand pound wild animal...

GREGGHello, Harry. Cecily.

CECILY(affectionate)

Welcome back, baby.

HARRY... but security tells me you'verequested no firehoses, norestraints of any kind...

GREGGLet me introduce you to...

HARRYHow are we supposed to controlthe animal? With a giant,rolled-up...

Harry trails off as Jill gets out of the car.

HARRY... newspaper?

Harry wasn't prepared for somebody this young andbeautiful. Neither was Cecily. They raise their eyebrowsat Gregg.

GREGGJill Young, Dr. Harry Ruben -- herun the place -- and Dr. CecilyBanks, who makes sure he doesn'tscrew it up.

CECILY(chuckles)

Chief veterinarian. Hi.

Jill steps forward, shy and polite. She extends her hand.

JILLHello. It's a privilege to meetyou both.

(CONTINUED)


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48.


Harry is too flustered by Jill to say a word. He just manages a weird little smile and a sound that's not

English.

Just then, a BANG and a loud GROWL come out of thetrailer. Harry and Cecily almost jump out of their skins.

JILLComing, Joe! Hold on!

(to Harry)I think he'd like to come outnow -- if you don't mind.

HARRY(stammering, scared)

Mind? No, of course I don't mind.

Jill and Gregg look at each other, excited. This is the moment they've been waiting for. They grin at each other.

GREGGHarry? I think it's time you metJoe.

They start moving to the trailer...

HARRYHold it!

Harry whirls around and waves over a pair of nerdy, grad-school-geek conservancy workers, JACK and VERN. They run

eagerly forward to take orders. They gawk at Jill, eachone instantly deciding she is the woman of their dreams.Harry barks at them, bringing them back to attention.

HARRYJack? Vern? Get the sedativesready.

JILL(quickly)

We won't need any of that.

HARRYMiss Young, we know what we'redoing here, and the best way to...

Gregg steps forward.

GREGGHarry -- you and I made anagreement. The lady's in chargeof Joe.


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49.

50 EXT. BACK OF TRAILER 50

Jack and Vern nervously raise the gate to the back of thetrailer. The gate lays flat against a retractable plankthat creates a bridge to the habitat.

JOE GROWLS SOFTLY from inside.

JACKEasy, big boy.

VERNDon't forget who's gonna feed you.

They raise the gate completely. Jill comes up behindthem.

JILLI'll take it from here.

Jack and Vern are only too happy to let Jill take over.

JOE'S POV - FROM TRAILER DOOR

He can hear Jill but sees only her silhouette at first...and the lush greenery behind her. He GROWLS...

The entire staff, other than Gregg, takes one step back- ward. Harry whispers in his ear.

HARRYYou sure she knows what she's

doing?Gregg's watching Jill with quiet admiration.

GREGGShe knows.

BACK BY TRAILER

Jill keeps coaxing Joe.

JILLCome on, Joe. Come on, big guy.

SHADOW

passes over the staff of the conservancy. A look ofabsolute wonderment on every face as Joe emerges from thetrailer. Cecily nudges Harry, whose jaw is slack. Greggsees this reaction, and beams.

(CONTINUED)


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50.

50 CONTINUED: 50

BY TRAILER

Joe takes a step forward. He looks out across the plat-form into the sanctuary -- taking in the familiar treesand flowers the staff has planted for him.

ON HARRY AND CECILY

Completely overwhelmed by the sight of this massivecreature. Cecily manages a few words.

CECILYThat is one, big gorilla.

BACK TO JOE

His head turning sideways at the sound of her voice. A tense moment, as Joe glares at the assembled crowd. Heis magnificent. Awesome. Staggering.

Harry knows a photo-op when he sees one. He whispersloudly to Vern:

HARRYHey! What do I pay you for? Getsome shots -- of me, too.

Vern picks up a camera and scrambles to get intoposition -- but he's so nervous that he trips, sprawling

on the ground and startling Joe. Joe turns and scampersback into the trailer.

Vern gets back on his feet, red-faced. Jill glares atHarry. Gregg just chuckles at the stupidity. Harryblames Vern.

HARRYWhat -- he did it.

BY TRAILER

Jill walks to the edge of the trailer. She coos into thedarkened interior.

JILLCome on, ya big baby. Come onback. Do I have to come in thereand get you myself?

She heads into the trailer after him. Harry and Cecilyexchange incredulous looks.

(CONTINUED)


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51.


INSIDE TRAILER

We can hear JOE making PANTING and HOOTING sounds, almostas if he is trying to reason with Jill. Jill coos and

makes her own soothing sighs and sounds. Their noisesbounce off the metal trailer walls.

OUTSIDE TRAILER

Everyone exchanges curious glances. Miss Young is onestrange girl. Gregg just smiles.

A moment passes -- and then the trailer begins to rockas Jill backs out of it, followed by Joe. She leads him,

walking backwards, down the platform, then steps off sohe can pass.

JILL(soothing)

That's it. That-a-boy.

Joe hesitantly takes a few steps forward on his own.

GREGG(under his breath)

Go on, Joe. Go on.

Everyone holds their breath as Joe completes the crossing.Gregg looks over at Jill. Her eyes are glistening.

Joe heads up through the back of the habitat, alreadyinvestigating his new home. Everyone exhales.

HARRY Alright. Take the platform away.

Jill is instantly alarmed. She turns to Harry.

JILLHold on -- I'm going in with him.

Harry shakes his head and motions for the workers toproceed with removing the platform.

HARRYNo. We can't allow that. Wedon't have insurance to coveranyone in there who's not anemployee.

GREGGHarry...

(CONTINUED)


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52.


JILLBut you said -- I'm in charge ofJoe.

HARRYYes. And I'm in charge of thisfacility.

Jill looks over at Gregg, distraught. Gregg shakes hishead, disgusted -- he sees exactly where this is going.

50A INT. HALLWAY OF CONSERVANCY CONDO - DAY 50A

Jill and Gregg are at a door that Gregg is unlocking.Jill paces angrily and storms through the door as Greggopens it. CAMERA FOLLOWS Gregg in. He's carrying herbags.

JILL(imitating Harry)

'I'm in charge of this facility.'Who is that guy? I bet that manhasn't spent one night outside inhis entire life.

GREGGProbably not.

JILLYou said I was going to be in

charge of Joe. I should besleeping down there, with him, notin this... this...

(taking in the space)

cage.

Gregg is grim and quiet. He thinks what she's saying istrue. He sets her bags down, detesting the antisepticspace as much as she does.

Feeling claustrophobic, Jill dashes to the window andtries to open it. It's a double-paned window. The topdoesn't open at all -- the bottom cranks open threeinches, barely letting in air. Jill pushes on the

window, horrified?

JILLWhat's wrong with this window?

(pushing on it)That's all it opens? That's all?

(MORE)

(CONTINUED)


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53.

50A CONTINUED: 50A

JILL (CONT'D)(growing breathless)

This is wrong. This is all wrong...

(pleading)Please, fix it, or do something...

It only takes a second. Gregg grabs a pillow from thecouch and lays it against the top portion of the window.He gives it one swift karate chop, breaking out the glass.He methodically breaks out the remaining shards, dusts offthe pillow, and carefully replaces it on the couch.

Jill just stares at him, open-mouthed. Gregg looks herstraight in the eye.

GREGG(quietly)

I'll do everything I can for you.

They hold each other's eyes.

JILL(small voice)

Thank you.

Gregg walks out.

50B EXT. CONSERVANCY - NIGHT 50B

The conservancy is quiet at night, except for theoccasional ANIMAL sound rising into the air.


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54.

50C INT. JILL'S CONDO - NIGHT 50C

Jill leans on her elbows, staring out her recently-broken window, a lost look on her face.

51 OMITTED 51

51A EXT. JOE'S HABITAT - THAT MOMENT 51A

The CAMERA LEAVES Jill's window and FINDS Joe, sitting inhis man-made grassy field, looking equally lost andlonely. He is unsure of what to do with himself, confusedby his surroundings.

PAN TO:

51B EXT. JOE'S HABITAT - ANOTHER ANGLE - THAT MOMENT 51B

The CAMERA FINDS Gregg, leaning against the bar at theedge of the moat. His face is soft as he watches Joe.

Joe lists his mammoth head and looks up towards the rightcorner of his habitat. Gregg follows Joe's eyeline andsees that Joe is looking at a TRANSFORMER. The ELECTRICBUZZ reaches Gregg's ear... and he becomes aware of it ina new way. He hears its HUM the way Joe hears it --strange, menacing.

Gregg shakes his head to himself -- why didn't thedesigners pay attention to this? He looks back at Joe,

almost apologetically, and is startled to find that:Joe is looking back at him.

It is the first time these two have had real eye contact,and for Gregg it is almost overwhelming. Man and beastread each other's faces, and it is in this moment thatthe giant ape becomes more than a phenomenon to Gregg.Gregg finally feels some of what Jill has been feeling.He connects to Joe.

And Joe connects to Gregg. It's just a blink of the eye,a turn of the head -- but it's there. And they both feelit.

51C OMITTED 51Cthru thru54 54

FADE OUT.


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55.

FADE IN:

55 EXT. CONSERVANCY - NEXT MORNING 55

Cecily runs up to the front of the main building, whereHarry is waiting for her.

CECILYWhere's Gregg?

HARRYBeats me. He collected hispay check. He's probably in somejungle by now, not using deodorant.

CECILYI think he should be here. Thisis his discovery, after all.

HARRYExcuse me, Gregg's expertise ispitching tents, not explainingprimate behavior to the Chairmanof the Conservancy Board.

CECILY(disgusted)

Know what I think, Harry?

HARRYI have a feeling I'm gonna findout.

CECILYI think you're jealous.

HARRY (O.S.)Of Gregg? Don't be ridiculous.

(beat)I'm crippled with envy.

In the distance, we see a Cadillac approaching on theConservancy roadway.

HARRYJust once I wanted to go intothe field and find a new species...

mollusk, anything. Instead, he makes the zoological discovery of

the century.

CECILY And he still has a full head of

hair.

(CONTINUED)


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HARRYThat's not funny.

Cecily nods to the road.

CECILYHeads up.

The Cadillac comes to a stop in front of them. A distinguished man in a business suit steps out. This isELLIOT BAKER, the Chairman of the Board.

HARRYElliot. Good to see you again.

BAKERHarry. Dr. Banks.

He claps his hands together.

BAKERSo? Let's go see him.

CECILYRight this way.

56 INT. CONSERVANCY NEAR JOE'S HABITAT - DAY 56

Harry and Cecily walk with a conservative-looking man inhis fifties, Elliot Baker, the Chairman of the Board of

the conservancy. Harry is working for brownie points,excitedly pointing out his "important role" in discoveringJoe.

HARRYI always had a suspicion that thelegend coming out of the Panganiforest might have some truth toit. It was just a hunch -- sortof a gut feeling -- but I sent myfield zoologist to check it out.

Cecily shoots a look at Harry. She's not going to lethim grab the glory away from Gregg.

CECILYThat field zoologist, Dr. O'Hara,had a theory -- and Joe's blood

work confirms it. The gorillas inthe Pangani carry a recessive genethat pops up every four or fivegenerations with this rare form ofgigantism.

(CONTINUED)


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56 CONTINUED: 56

BAKER(excited)

And that's where the legend comesfrom! That zoologist of yours --

what's his name, Harry?

HARRY(begrudging)

Gregg O'Hara.

BAKERPretty damn sharp.

This kills Harry. Cecily snickers. They arrive at thefence surrounding Joe's habitat.

HARRYHere we are.

They walk up to the observation railing. Baker cranes hisneck. Joe's nowhere to be seen.

BAKERWhere is he?

HARRY(calling)

Joe! Here, Joe!(apologetic joke to Baker)

I told him the Chairman of the

Board was coming and he promisedto come say 'hi.'

Cecily gaps and mouths "kiss ass" behind Baker's back.

BAKERWell I don't see him.

HARRYMmmm. We'll feed him. That'llget him to come out.

CECILYUh, Harry...

HARRYI know what I'm doing. Let's openthe gate.

Cecily hesitantly pulls out her keys to the security gate.

57 OMITTED 57& &58 58


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57A.

58A OMITTED 58A

58B INT. JILL'S APARTMENT - DAY 58B

Mementos, photos, and fabrics from home are strewnaround, already adding Jill's warmth and personality tothe place.

Jill is standing at the window hanging an African pieceof fabric as a makeshift curtain when a piercing ALARMRINGS OUT over the compound. Worried by the urgent soundof the alarm, Jill steps down and hurries out the door.

58C EXT. CONSERVANCY GROUNDS - DAY 58C

Jill runs out of the building and almost collides withGregg, who is rushing in..

GREGGI was coming to get you.

JILLWhat is that noise?

GREGGCome on!

The two of them rush off across the compound. As theydo, they pass...

59 JILL'S POV - BUNKER 59 A concrete building that's used to lock down wild

animals. Jill watches, nervously, as conservancy workers with tranquilizer rifles stream out of the building and

jump into vehicles, heading toward Joe's habitat.

CUT TO:

60 EXT. JOE'S HABITAT - DAY 60

Jill and Gregg drive up to the habitat. As they comeclose, Gregg finds Cecily.

GREGGWhat the hell is going on?

CECILYIt's Joe, he's gone crazy!

Jill and Gregg follow Cecily towards...

(CONTINUED)


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60.

60 CONTINUED: 60

JILLHarry! Jump out from behind thetree!

He shakes his head. No way he's gonna jump in front ofthat gorilla.

JILLJump out and say 'You found me!'

GREGGDo it, Harry!

Joe grabs a bush and tears it from the ground...

The guards aim their rifles, fingers on triggers...

And Harry, having nothing to lose but his life, jumpsout from behind the tree...

HARRYYou found me!

There is a tense moment, then...

Joe stops growling. In the next instant, he startsspinning in a circle, gleefully. Then he dashes off andhides behind a very tiny tree.

ON HARRY

completely confused. Jill walks up to him.

JILLHe's playing hide and seek.

Jill starts rooting around in the trees, pretending notto see Joe.

JILLOkay, where are you? Come out,big guy! Where'd he go?

(finding him)There you are!

He screams with delight, and spins in a circle again.

As it dawns on everyone that she's actually right, andthat he's really playing, the guards start to lower theirguns. Then they start laughing. An embarrassed Harryslinks by Gregg, who can't help but chuckle as he leaves.


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61.

61 EXT. JOE'S HABITAT - CONTINUOUS ACTION 61

An exhausted Harry catches his breath at the gate aroundthe habitat. Baker has a thoughtful look on his face.

BAKERPut that girl in charge of thegorilla, Harry.

HARRYWhat? Elliot, she's got noscientific...

BAKERThat ape is the best fund-raisingtool this conservancy has everseen. He's happy -- I'm happy.Put her on the payroll.

Baker turns and walks away.

62 EXT. JOE'S HABITAT - CONTINUOUS ACTION 62

Gregg and Cecily watch as Jill plays hide and seek withJoe.

Jill dashes away and runs over to Gregg. She isabsolutely glowing, bouncing around with happiness. Shegrabs both his arms, jumping up and down.

JILLHe's playing! Did you see?

GREGG(laughing)

I saw.

JILLHe likes it here! Isn't it great?

GREGGIt's great.

Jill surprises Gregg by giving him a hug. Gregg looks overher shoulder and sees that Joe is giving him the evil eye.He's jealous. Gregg stares back, equally challenging.

Jill, unaware of the competition, lets go of Gregg andhappily runs back to Joe. Gregg and Joe continue to holdeach other's eyes. Cecily sighs and shakes her head.

CECILYSorry, babe, but in a pissing

match the monkey kicks your ass.

(CONTINUED)


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62.

62 CONTINUED: 62

GREGGWhat are you talking about?

CECILYOh please. I was wondering whyyou hadn't taken off yet.Normally, you're out the door soonas the animal's in his habitat.

GREGGYou've got an active imagination,Cecily.

CECILYI don't think so. I think Mr.World Traveller has goo-goo eyesfor the gorilla girl.

Gregg scoffs. But from the look on his face, it's clearshe's hit a nerve.

63 INT. JILL'S APARTMENT - DAY 63

A KNOCK at Jill's apartment door. She opens it and lightsup to see Gregg standing there. Gregg looks past her intothe room. She's made some changes; the bed's on the floorand a few large potted ferns crowd the room.

GREGGLike what you've done with the

place.JILL

Too bad it's always so cold --somebody broke my window.

She smiles at him and motions for him to come in. Greggsteps just inside the door and stops.

GREGGI just came by to tell you that Ithink Joe looks real good outthere...

JILLI know! This is working out --better than I expected.

GREGG... and that I'm hitting the road.

Jill looks at Gregg keenly. He's acting like he's gotsomething to tell her.

(CONTINUED)


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63.

63 CONTINUED: 63

JILLWhere you going?

GREGGBack to Africa.

(pauses)For a couple of months.

Jill stays light.

JILLNo kidding? When do you leave?

GREGGNow.

Jill just nods.

Gregg is struggling -- this is more difficult than it'sever been for him. He tries to be nonchalant...

GREGGIt's the job, y'know. Always onthe road. It's what I like,anyway -- can't stand to be cagedup...

They meet eyes. They both know what that means.

GREGGYou and Joe will be okay...

Jill shrugs, acting like she doesn't care either.

JILLOh -- of course.

GREGGYeah. Well...

JILL(overlapping)

See you when you get back.

GREGG(overlapping)I'll call you.

Mighty Joe Young hghjyj

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Transcript of Mighty Joe Young hghjyj